Tag Archives: WWII

To this last novel, published a year before his death in 2007, Kempowski brings all the experiences of his long life. Born in 1929 in Hamburg, he was caught up in WWII, at 15 witnessing the East Prussian refugees in Rostock, the coastal town where he grew up. Soon after, he learned that his father had been killed.

He escaped to the west at the end of the war, but on a 1948 visit back to Rostock, now occupied by the Russians, he and his mother and brother were arrested for espionage and sent to a Soviet prison. Released, he was deported to West Germany and became one of that country’s most famous authors.

Drawing on these experiences, Kempowski crafts a story of an East Prussian family continuing to live their normal, even banal, lives while the first Baltic refugees fleeing the approaching Russians begin to pass their estate. Eberhard van Globig is serving in Italy, leaving his beautiful, if vague, wife Katharina to drift around their manor house or visit her pregnant friend in the nearby town while his elderly aunt actually runs the household and his twelve-year-old son Peter is tutored by a schoolmaster too old to fight who comes out from the town every day.

They welcome refugees that come to the door, sharing their food with them and enjoying the songs or stories the travelers bring. It breaks up the monotony of their lives. However, we learn later that each refugee has filched something from the van Globigs before leaving. Then the self-important head trustee of the local Labor Front, who lives in the new settlement across the road and considers himself their pseudo-mayor, decides to start billeting more refugees in the manor.

Underneath the details of the days, calm, somewhat repetitive, sprinkled with quotes from poems and folksongs, there are questions being asked over and over. Should we leave now? How close are the Russians? Will our forces turn them back? If we leave, where should we go? Should we turn back or go forward?

The family exists in a pre-war bubble of serenity, Peter playing with his train set, adding to his treehouse, looking at things with his new microscope, even as the train of Baltic refugees swells and the sound of guns grows louder. The scenes grow more and more surreal.

What makes this story so remarkable is its unsentimental, objective tone. The author never even hints at what we should think about these people and their actions, letting us draw our own conclusions. The characters are given to us whole, with all their kindnesses and cruelty. Each is formed by the live they’ve lived; none are totally good or totally bad.

But always we have the title. Each of the characters—refugees, family, other locals—is obsessed with what to take when they go and mourns what they have left behind. Auntie insists on thoroughly cleaning the manor before they embark.

What do we leave behind? What use is all our learning, the poems we’ve memorised, the love we’ve given or deaths we’ve mourned? What sense can we make of life when fate so randomly bestows both favors and misfortunes? In wartime, we are constantly reminded of the capriciousness of fate. One family on a road packed with refugees is killed by a bomb while others are not. One son is killed in battle and another is not.

This quiet but intense book makes us consider all these ‘last questions’. It carries the weight of our not-so-long-ago history, which is always happening all over again. What could be more timely than a novel about refugees? It also has much to tell us about human nature. And then there’s the title.

What novel have you read that seems to carry an entire life’s worth of experience?

In 1937, young Lisette Roux and her husband André leave their beloved Paris and move to the south of France, to the small Provençal village of Roussillon to care for André’s grandfather Pascal.

Once an ochre miner, Pascal loved paintings whose pigments used his ochre. By exchanging his homemade frames for paintings by destitute artists, Pascal had acquired eight works of art. These paintings have grown in value as the fame of the artists grew, but their worth is beyond money to Pascal. He wants to be sure that André and Lisette understand their true worth and will protect them when he himself is gone.

The story is from Lisette’s point of view, first her misery at leaving Paris and the art world she is just beginning to move into, hoping for a job at a gallery, then her growing love for Pascal and Roussillon. She keeps track of her vows and promises to herself of what she will do in her lifetime.

All too soon, their life in Provence is overtaken by World War II. André hides the paintings before going off to fight, leaving Lisette to manage without his income. When the Germans occupy Roussillon, they are determined to find Pascal’s paintings.

In this final book from the author of books such as Girl in Hyacinth Blue and The Passion of Artemisia, we have the combination of historical fiction and a deep appreciation of art that we’ve come to expect from Vreeland. Along with Lisette, we are introduced to artists such as Pissaro, Cezanne and Picasso. The descriptions of the paintings and of Provence itself are luscious.

So why did I grow a little bored towards the middle of the story? Partly it was because these artists were not new to me. Partly it was because Lisette, the girl from Paris, seemed to accomplish new things without any trouble at all. Acquire and learn to care for a goat and chicken? No problem. Figure out how to make cheese and candies good enough to sell? Child’s play. She does face some challenges with the Germans and a man in town, it’s true. But I had a bigger problem with the book.

What we expect in a story is a protagonist with an overwhelming need or goal who faces obstacles to achieving what she’s set out to do. We expect there to be an external journey as she confronts these obstacles, as well as an internal journey as she learns more about herself and changes as a result of her inner and outer conflicts. We expect the stakes to be high for both.

The problem for me was that while Lisette certainly had an eventful outer journey, one with high stakes, she didn’t have much of an inner journey. She does have those vows and promises; she does want to be part of the art world, but it all seems rather vague. The stakes are low or non-existent for her inner journey. She doesn’t change by the end of the book. After eleven years, she’s still the same naïve young woman who came to Roussillon.

However, I’m glad I read the book, if only for the descriptions of life in Roussillon and of how the paintings affected Lisette and others. I’m grateful for the opportunity to think about the uses of art in our day-to-day lives, outside of museums and galleries.

Lissa Evans’s fourth novel is set in and around London during the Blitz in WWII. The characters are ordinary people, not homefront heroes like midwives or wardens or detectives. Well, I say ordinary, but like the best fiction, Crooked Heart shows us how extraordinary each life may be.

In the remarkable prologue, we are introduced to orphaned 10-year-old Noel who lives with his godmother in Hampstead. Mattie, a suffragette in her younger days, has retained her free-thinking ways, treating Noel to an eccentric and wonderful education. However, she is beginning to suffer from dementia. As she struggles to remember words and where she put things, the wordplay and accommodations between Mattie and Noel are wonderful to behold.

I’m generally not fond of prologues, but I loved this one. In fact, I thought it the best part of the book.

All good things come to an end, including Mattie, and ostensibly under the care of her cousins, Noel is evacuated to St. Albans. Unprepossessing and limping from a bout with polio, Noel is the last child to find a home. Finally, Vera Sedge snatches him up for the sake of the stipend and extra rations she’ll receive.

Vera, known as Vee, is a widow who barely makes ends meet by sewing notions for hats and engaging in various small money-making schemes. She has little affection to spare for Noel since she is absorbed in waiting on her no-good grown son and elderly mother who spends her time writing letters to Churchill.

Noel, however, is quite brilliant and, thanks to Mattie, creative at coming up with unusual solutions to problems. He and Vee become partners in petty crime.

Much of the joy in this book is seeing how their relationship develops. The description of wartime London, where the two conduct their activities, is brilliant. More than what it’s like to take refuge from the bombs in a shelter or the unsettling disappearance of buildings, we learn about the plethora of minor crime going on while ordinary mores seem to be suspended. I also enjoyed the glimpses of regular life continuing during the Blitz, how people adjust to the new normal.

Much of the story is light-hearted, but it has its dark side—and I’m not just talking about bombs. The reader cannot help but share Vee’s ongoing panic about how to make ends meet and the extremes she’s willing to go to in order to pay the rent—just like today when so many are struggling to survive.

How can you not consider stealing a loaf of bread if your children are hungry? And I’m not just talking about the Blitz or Jean Valjean. People are starving today, even in the richest country in the world. People—especially single mothers—are unable to pay the rent and are thrown onto the street.

I’m sure there are those who would describe this novel as charming or heart-warming. Perhaps it is my own background that makes me so aware of the shadow of desperate poverty that haunts the comic shenanigans of Vee and Noel. As in drawing, thought, the shading adds depth and power to this story.

Have you read a novel that is by turns funny and sad, light-hearted and dark?